This paper examines possibility to use fantasy movies in education of tolerance. Tolerance problem is very relevant nowadays, especially when it is being considered in relationship with latter political and social events. Also it is very inportant to find an appropriate tool for increasing tolerance of contemporary young people. This paper connects relevance of tolerance and attracness of hipotetical teaching tool – fantasy movies. It was determined that fantasy movies can be used to teach tolerance, also the list of appropriate for teaching tolerance fantasy moviesi is given.
This paper examines possibility to use fantasy movies in education of tolerance. Tolerance problem is very relevant nowadays, especially when it is being considered in relationship with latter political and social events. Also it is very inportant to find an appropriate tool for increasing tolerance of contemporary young people. This paper connects relevance of tolerance and attracness of hipotetical teaching tool – fantasy movies. It was determined that fantasy movies can be used to teach tolerance, also the list of appropriate for teaching tolerance fantasy moviesi is given.
After World War II the movies concerned with the Jews were eliminated from the Soviet cinematography. Even though there were scenes of Nazi massacres of the Jews or related episodes, the word 'Jews' was never mentioned. The Jews as a nation ended up outside of the screen and became implicit characters because the Holocaust and Nazi crimes and their perception were unified, making the Jews to 'share' the victim status with other 'peaceful citizens'. The concept 'Holocaust without Jews' came into life as an identity of Nazi victims could have been guessed only through allusions in the movies (archival footage from Jews' mass killing, ghettos, and concentration camps). Movies, as audiovisual representations of the past, tended to retouch the Holocaust and sort of erase it from history. It was not in the best interest of the Soviet regime to recognize the Jews as a focus group of the Third Reich genocide politics. The Holocaust representation in the movies of the Lithuanian SSR was in line with the ideological line of the Soviet historical memory politics. The allusions to the Holocaust were symbolic and had the function of a stenographic element in the background of the main plot line. It was noticed that the Star of David was often used to indirectly convey the passivity and insensibility of the people around in the films of Soviet Lithuania. On the other hand, unlike the communist Polish cinematography, less significant artistic expressions, there were no Jewish preservation moments and no intentions to condemn antisemitism. There were no Jewish characters in the Lithuanian film studio. It may be assumed that the indoctrination of the ideological mythology of the fascist crimes through cinema was one of the elements, which produced a distorted perception of the Holocaust in the Lithuanian collective consciousness.
After World War II the movies concerned with the Jews were eliminated from the Soviet cinematography. Even though there were scenes of Nazi massacres of the Jews or related episodes, the word 'Jews' was never mentioned. The Jews as a nation ended up outside of the screen and became implicit characters because the Holocaust and Nazi crimes and their perception were unified, making the Jews to 'share' the victim status with other 'peaceful citizens'. The concept 'Holocaust without Jews' came into life as an identity of Nazi victims could have been guessed only through allusions in the movies (archival footage from Jews' mass killing, ghettos, and concentration camps). Movies, as audiovisual representations of the past, tended to retouch the Holocaust and sort of erase it from history. It was not in the best interest of the Soviet regime to recognize the Jews as a focus group of the Third Reich genocide politics. The Holocaust representation in the movies of the Lithuanian SSR was in line with the ideological line of the Soviet historical memory politics. The allusions to the Holocaust were symbolic and had the function of a stenographic element in the background of the main plot line. It was noticed that the Star of David was often used to indirectly convey the passivity and insensibility of the people around in the films of Soviet Lithuania. On the other hand, unlike the communist Polish cinematography, less significant artistic expressions, there were no Jewish preservation moments and no intentions to condemn antisemitism. There were no Jewish characters in the Lithuanian film studio. It may be assumed that the indoctrination of the ideological mythology of the fascist crimes through cinema was one of the elements, which produced a distorted perception of the Holocaust in the Lithuanian collective consciousness.
Key words: public sphere, public discourse, civic society, public interest, J. Habermas, movie theatre "Lietuva". A student of the Frankfurt School of Social Research – which advanced a Marxist critique of western capitalism and its discontents – Habermas wrote The Structural Transformation of the Public Sphere (1962). Sensing a collapse of the public sphere and therefore a crisis of democratic politics, Jørgen Habermas published The Structural Transformation of the Public Sphere in 1962. In this highly influential work he traced the development of a democratic public sphere in the seventeenth and eighteenth centuries and charted its course to its decline in the twentieth century. In that work and arguably since then as well, Habermas' political intent was to further "the project of Enlightenment" by the reconstruction of a public sphere in which reason might prevail, not the instrumental reason of much modern practice but the critical reason that represents the best of the democratic tradition. Habermas defined the public sphere as a domain of uncoerced conversation oriented toward a pragmatic accord. Conception of public space is related to alternation of state organization and communication forms. Radio, television and internet invoked public discussions in the last century. What is "the public sphere" in Lithuania? Public sphere is often realized as not privatize territory in Lithuania. But this opinion is changing now and the question is what is the perception about public sphere now in Lithuania? How it represent in communication campaigns? What kinds of power it have in a representative democracy? These questions are of central concern in this research work. Problems of public sphere and effective of communication campaigns in it is showing through the one study case, about cinema theatre "Lietuva" liquidation.
Key words: public sphere, public discourse, civic society, public interest, J. Habermas, movie theatre "Lietuva". A student of the Frankfurt School of Social Research – which advanced a Marxist critique of western capitalism and its discontents – Habermas wrote The Structural Transformation of the Public Sphere (1962). Sensing a collapse of the public sphere and therefore a crisis of democratic politics, Jørgen Habermas published The Structural Transformation of the Public Sphere in 1962. In this highly influential work he traced the development of a democratic public sphere in the seventeenth and eighteenth centuries and charted its course to its decline in the twentieth century. In that work and arguably since then as well, Habermas' political intent was to further "the project of Enlightenment" by the reconstruction of a public sphere in which reason might prevail, not the instrumental reason of much modern practice but the critical reason that represents the best of the democratic tradition. Habermas defined the public sphere as a domain of uncoerced conversation oriented toward a pragmatic accord. Conception of public space is related to alternation of state organization and communication forms. Radio, television and internet invoked public discussions in the last century. What is "the public sphere" in Lithuania? Public sphere is often realized as not privatize territory in Lithuania. But this opinion is changing now and the question is what is the perception about public sphere now in Lithuania? How it represent in communication campaigns? What kinds of power it have in a representative democracy? These questions are of central concern in this research work. Problems of public sphere and effective of communication campaigns in it is showing through the one study case, about cinema theatre "Lietuva" liquidation.
Key words: public sphere, public discourse, civic society, public interest, J. Habermas, movie theatre "Lietuva". A student of the Frankfurt School of Social Research – which advanced a Marxist critique of western capitalism and its discontents – Habermas wrote The Structural Transformation of the Public Sphere (1962). Sensing a collapse of the public sphere and therefore a crisis of democratic politics, Jørgen Habermas published The Structural Transformation of the Public Sphere in 1962. In this highly influential work he traced the development of a democratic public sphere in the seventeenth and eighteenth centuries and charted its course to its decline in the twentieth century. In that work and arguably since then as well, Habermas' political intent was to further "the project of Enlightenment" by the reconstruction of a public sphere in which reason might prevail, not the instrumental reason of much modern practice but the critical reason that represents the best of the democratic tradition. Habermas defined the public sphere as a domain of uncoerced conversation oriented toward a pragmatic accord. Conception of public space is related to alternation of state organization and communication forms. Radio, television and internet invoked public discussions in the last century. What is "the public sphere" in Lithuania? Public sphere is often realized as not privatize territory in Lithuania. But this opinion is changing now and the question is what is the perception about public sphere now in Lithuania? How it represent in communication campaigns? What kinds of power it have in a representative democracy? These questions are of central concern in this research work. Problems of public sphere and effective of communication campaigns in it is showing through the one study case, about cinema theatre "Lietuva" liquidation.
Key words: public sphere, public discourse, civic society, public interest, J. Habermas, movie theatre "Lietuva". A student of the Frankfurt School of Social Research – which advanced a Marxist critique of western capitalism and its discontents – Habermas wrote The Structural Transformation of the Public Sphere (1962). Sensing a collapse of the public sphere and therefore a crisis of democratic politics, Jørgen Habermas published The Structural Transformation of the Public Sphere in 1962. In this highly influential work he traced the development of a democratic public sphere in the seventeenth and eighteenth centuries and charted its course to its decline in the twentieth century. In that work and arguably since then as well, Habermas' political intent was to further "the project of Enlightenment" by the reconstruction of a public sphere in which reason might prevail, not the instrumental reason of much modern practice but the critical reason that represents the best of the democratic tradition. Habermas defined the public sphere as a domain of uncoerced conversation oriented toward a pragmatic accord. Conception of public space is related to alternation of state organization and communication forms. Radio, television and internet invoked public discussions in the last century. What is "the public sphere" in Lithuania? Public sphere is often realized as not privatize territory in Lithuania. But this opinion is changing now and the question is what is the perception about public sphere now in Lithuania? How it represent in communication campaigns? What kinds of power it have in a representative democracy? These questions are of central concern in this research work. Problems of public sphere and effective of communication campaigns in it is showing through the one study case, about cinema theatre "Lietuva" liquidation.
The objective of this work is to identify collective memory shapes in lithuanian fiction TV and cinema film during soviet period (1957-88). Acording to new popular theoretical approches this work analyses the specific sourse of history - fiction film. The main problem is that this type of resourse is mostly ignored by lithuanian sholarship of history. So this reserach brings lithuanian fiction film up-to-date usual resorces of history. According to research made in this work, it is possible to denitrify new methodical approaches, which help to classify fiction films in which it can be seen past representations. Research of archival origins helps to reconstruct soviet film industry system of Lithuania: the fiction film censorship, the specific "control-gear" of films. It is made a contecstual analysis, which identifies the main political and creative displacements. According to difficult chronological range, it is made the research of individual film censorship cases and it's reasons. It is need because of influence over film content, which is essential in this research. Film content research helps to identify the reconstructions of past and it's sociohistorical approaches. The identification of soviet society collective memory, is possible because of fiction film flexibility: it can show no visible(nonvisible) social reality zones and popular past representations.
The objective of this work is to identify collective memory shapes in lithuanian fiction TV and cinema film during soviet period (1957-88). Acording to new popular theoretical approches this work analyses the specific sourse of history - fiction film. The main problem is that this type of resourse is mostly ignored by lithuanian sholarship of history. So this reserach brings lithuanian fiction film up-to-date usual resorces of history. According to research made in this work, it is possible to denitrify new methodical approaches, which help to classify fiction films in which it can be seen past representations. Research of archival origins helps to reconstruct soviet film industry system of Lithuania: the fiction film censorship, the specific "control-gear" of films. It is made a contecstual analysis, which identifies the main political and creative displacements. According to difficult chronological range, it is made the research of individual film censorship cases and it's reasons. It is need because of influence over film content, which is essential in this research. Film content research helps to identify the reconstructions of past and it's sociohistorical approaches. The identification of soviet society collective memory, is possible because of fiction film flexibility: it can show no visible(nonvisible) social reality zones and popular past representations.
dustry that examined the cultural and economic aspects of the Lithuanian film industry's national and global situation and developments in the 21st century. The authors review changes in the political, legal, tax, and other circumstances in 2011–2014 that led to qualitative changes in the film industry over the last four years. The authors conducted quantitative research in order to properly evaluate the symbolic and cultural national film industry output level. The survey data is analyzed and compared with survey data from the previous year.
dustry that examined the cultural and economic aspects of the Lithuanian film industry's national and global situation and developments in the 21st century. The authors review changes in the political, legal, tax, and other circumstances in 2011–2014 that led to qualitative changes in the film industry over the last four years. The authors conducted quantitative research in order to properly evaluate the symbolic and cultural national film industry output level. The survey data is analyzed and compared with survey data from the previous year.
Violence was always a popular theme in movies. Nevertheless, through the history of cinema, we can track an everlasting critique of violent images. Since the beginning of the 20th century, violent cinema has been under constant political pressure, that required implementation of a strict censorship mechanism. That is why we can boldly state, that violent cinema is fundamentally connected to political questions of censorship and political order. By analyzing cinema violence, we raise questions about political concepts like fiction/reality, permitted/prohibited, moral/amoral and normal/abnormal. Usually, critics of violent cinema claim that violent films are a meaningless, but a dangerous product, that can transgress into reality. For example, violent movies can inspire the spectator to repeat the things that he saw on the screen. But such claims a priori deny the possibility that violent movies can become an original examination of violence itself. In this paper we claim that ultraviolent movies can raise an original discussion about the phenomenon of violence. This is where the problem of this paper arises. The goal of this paper is to critically analyze five ultraviolent movies made by Danish director Nicolas Winding Refn, and to examine how he creates his violent cinema. By investigating the relationship between narrative and violent images, we raise the question, do violent images inevitably become a meaningless and a dangerous object. The narratalogical analysis of five ultraviolent movies proves that movie violence can help the spectator raise important intellectual questions: who is responsible for viewing violent images, is the narrative and violence related and so on. This proves that cinema violence is more concerned with the cognitive processes of the creator or the spectator than with reality. And this gives ground for the criticism of mimetical theory of images and reality and the claim that movie violence is an insensible and dangerous product. This inquiry raises the question of the legitimacy of censorship of violent images. The originality of this paper comes in the methodological investigation of violent images, that is usually ignored by other researchers.
Violence was always a popular theme in movies. Nevertheless, through the history of cinema, we can track an everlasting critique of violent images. Since the beginning of the 20th century, violent cinema has been under constant political pressure, that required implementation of a strict censorship mechanism. That is why we can boldly state, that violent cinema is fundamentally connected to political questions of censorship and political order. By analyzing cinema violence, we raise questions about political concepts like fiction/reality, permitted/prohibited, moral/amoral and normal/abnormal. Usually, critics of violent cinema claim that violent films are a meaningless, but a dangerous product, that can transgress into reality. For example, violent movies can inspire the spectator to repeat the things that he saw on the screen. But such claims a priori deny the possibility that violent movies can become an original examination of violence itself. In this paper we claim that ultraviolent movies can raise an original discussion about the phenomenon of violence. This is where the problem of this paper arises. The goal of this paper is to critically analyze five ultraviolent movies made by Danish director Nicolas Winding Refn, and to examine how he creates his violent cinema. By investigating the relationship between narrative and violent images, we raise the question, do violent images inevitably become a meaningless and a dangerous object. The narratalogical analysis of five ultraviolent movies proves that movie violence can help the spectator raise important intellectual questions: who is responsible for viewing violent images, is the narrative and violence related and so on. This proves that cinema violence is more concerned with the cognitive processes of the creator or the spectator than with reality. And this gives ground for the criticism of mimetical theory of images and reality and the claim that movie violence is an insensible and dangerous product. This inquiry raises the question of the legitimacy of censorship of violent images. The originality of this paper comes in the methodological investigation of violent images, that is usually ignored by other researchers.
Violence was always a popular theme in movies. Nevertheless, through the history of cinema, we can track an everlasting critique of violent images. Since the beginning of the 20th century, violent cinema has been under constant political pressure, that required implementation of a strict censorship mechanism. That is why we can boldly state, that violent cinema is fundamentally connected to political questions of censorship and political order. By analyzing cinema violence, we raise questions about political concepts like fiction/reality, permitted/prohibited, moral/amoral and normal/abnormal. Usually, critics of violent cinema claim that violent films are a meaningless, but a dangerous product, that can transgress into reality. For example, violent movies can inspire the spectator to repeat the things that he saw on the screen. But such claims a priori deny the possibility that violent movies can become an original examination of violence itself. In this paper we claim that ultraviolent movies can raise an original discussion about the phenomenon of violence. This is where the problem of this paper arises. The goal of this paper is to critically analyze five ultraviolent movies made by Danish director Nicolas Winding Refn, and to examine how he creates his violent cinema. By investigating the relationship between narrative and violent images, we raise the question, do violent images inevitably become a meaningless and a dangerous object. The narratalogical analysis of five ultraviolent movies proves that movie violence can help the spectator raise important intellectual questions: who is responsible for viewing violent images, is the narrative and violence related and so on. This proves that cinema violence is more concerned with the cognitive processes of the creator or the spectator than with reality. And this gives ground for the criticism of mimetical theory of images and reality and the claim that movie violence is an insensible and dangerous product. This inquiry raises the question of the legitimacy of censorship of violent images. The originality of this paper comes in the methodological investigation of violent images, that is usually ignored by other researchers.
